Category Archives: Heavy Metal

Anthrax – Caught In A Mosh (Song Review)

“Stomp stomp stomp, the idiot convention”

The iconic title of this classic Anthrax track was inspired by an incident where one of the band’s guitar techs almost came a cropper in the midst of a slamming audience and lamented getting “caught in a mosh”. The obvious lyrical approach would be to pen an ode to thrash fans and their boisterous antics but Anthrax’s guitarist/lyricist Scott Ian took a different tack. Caught In A Mosh refers to being stuck in a shit situation at home, work or wherever. It’s an idea that results in some memorable, off-the-wall lyrics (“Your mother made a monster, now get the hell out of my house”).

Musically, the New Yorkers are at their frenetic, violent best with exuberant bass guitar, hurtling drums, crushingly tight rhythm guitars and a positively humongous middle-eight riff. But even in the midst of one of their most mayhem-inducing tracks, Anthrax still make room for a song. The chorus, where Joey Belladonna’s golden melodic vocals alternate with the band’s gang-shouts of the song’s title, is an absolute joy. Caught In A Mosh is a brilliant, exciting, all-time thrash classic. Which one of those words don’t you understand?

Vinyl Haul At Veneno

I knew it was going to be a great shop cause it had Scorpions’ In Trance in the window

The big story round these parts is that I’ve got the vinyl bug back – big time. In February I noticed on Facebook that a new record shop, Veneno Music Store (Spanish for “poison” or “venom”) had opened in Dunfermline. I hadn’t been buying a lot of used vinyl lately so I wasn’t too excited about it. But Dunfermline is a quick drive from where I live and it’s a place I like going to anyway so I decided to visit for a wee nosey. I’ve now been back three times in the last month. Check out what I’ve been buying in the pictures below, it’s like he’s been using my Discogs wish-list to stock his shelves or something.

I’m really chuffed to finally have such a great record shop in my neck of the woods. The chap that runs it is very friendly and he’s getting in great stuff every week. It’s not all rock and metal, there’s quite a range of genres. All the things I’ve bought were conservatively graded, reasonably priced and have played like a dream. If you’re in the area please make sure to pop in. And tell them that HMO sent you.

Motörhead – Deaf Forever (Song Review)

“Worm crawling on your cold, white face”

Deaf Forever is an iconic Motörhead song title, acting as a motto or a badge of honour for anyone who’s ever shared a hall with the notoriously loud rockers. But, rather than an ode to his volume-addled fans, Lemmy’s ingenious lyrics refer instead to a corpse on a battlefield: deaf forever to the din of the battle. And Motörhead’s short-lived Wizzö/ Würzel/Gill lineup create a considerable din of their own to soundtrack the sombre topic. Deaf Forever gets 1986’s superb Orgasmatron off to a thumping start with a robotic, marching main riff that opens into thunderous chords for a triumphant, anthemic chorus. It’s Motörhead at the top of their game musically and lyrically, with one of their best production jobs to boot. An inspired headbanger that’s guaranteed to put a big grin on your face. Rictus or otherwise.

Iron Maiden – Brighter Than A Thousand Suns (Song Review)

“Cold fusion of fury”

Iron Maiden’s 2006 album A Matter Of Life And Death proved that the British metal veterans were still an act to be reckoned with, delivering some of their most vital and creative material for years. No track illustrated this better than album highlight Brighter Than A Thousand Suns. Making great use of a churningly tense and ominous time signature, it’s one of Maiden’s proggiest and heaviest songs. Frontman Bruce Dickinson goes all Van Der Graaf Generator with dark, coded lyrics that depict the dawn of the nuclear age (and the influence is made crystal clear with a lyrical nod to the VDGG track Whatever Would Robert Have Said?) Musically there’s a Rush-like feel with the band twisting and turning through a range of moody, tricky sections. And Dickinson responds to the song’s dynamic shifts with a vocal performance that builds in intensity in a breathtaking and explosive way. Brighter Than A Thousand Suns is a track that is stylistically uncharacteristic for the band but, in terms of theatrics and excitement, has all the spirit of Maiden at their most classic.

Type O Negative – October Rust (Album Review)

Type O Negative – October Rust (Roadrunner – 1996)

I was incredibly excited when I first heard Type O Negative via the track Christian Woman. I loved the medieval vibe, Pete Steele’s fathomlessly deep voice and the rustic acoustic parts. I thought this was going to be the best band ever but their 1993 album Bloody Kisses proved to be a bit of a mixed bag with a range of doomier, poppier and angrier tracks that were more or less to my taste but never came close to fulfilling the promise of that beloved introductory song. The follow-up, 1996’s October Rust, didn’t have anything quite that good either but, by revelling in the beauty of nature, got closer to what I really wanted from Brooklyn’s Drab Four. Lovelorn, gothic ballads like Love You To Death and Die With Me feature memorable melodies and rich layers of instruments and although the mixed bag elements creep in on groovier tracks like Be My Druidess and My Girlfriend’s Girlfriend these songs don’t disrupt the album’s mood and add some welcome energy. The musical highlight, though, is the climatic pairing of Wolf Moon (Including Zoanthropic Paranoia) and Haunted. Vampiric vocalist Steele is at his sonorous best on these creepy, doomy and foreboding epics and they awaken some of that Christian Woman excitement. But the thing that really makes me come… back for more is the stunning autumnal soundscape and atmosphere the band created on this album. It all sounds so idyllic and magical that it feels more like you’re entering a woodland realm than listening to a record. And it’s the main reason October Rust is my favourite Type O Negative record. A mandatory listen every time the leaves start falling from the trees.

KISS – Hooligan (Song Review)

“I mean, you know how cool I am”

It might seem odd to use a song he’s not particularly known for, and didn’t write or sing, to salute original KISS guitarist Ace Frehley. But Hooligan is a great example of Frehley as a team player and how his impeccable, instinctive and characterful guitar playing elevated any song he played on. The 1977 Peter Criss vehicle probably isn’t a song that rides high in anyone’s ranking of KISS’s greatest work but I’ve always had a big soft spot for it. Criss’ hollering is infectious, I love the old-timey rock ‘n’ roll vibe and I’m a sucker for Paul Stanley’s use of capos for rhythm guitar parts. But, best of all, Space Ace wrings out a memorable and effortlessly cool guitar solo that crackles with electricity. And his soaring guitar part over the song’s climatic chords is one of KISS’ most joyous and euphoric moments. Ace, who has sadly left the planet aged 74, inspired legions of people to pick up guitars (including me) but there will never be anyone quite like this beloved, otherworldly legend ever again.

Fist – Name, Rank & Serial Number (Song Review)

“Now tell me the positions of your guns and armoured forces”

The debut single from South Tyneside’s Fist, this darkly amusing track depicts a military interrogation from the point of view of a stymied torturer who, despite his best efforts, can only obtain his captive’s Name, Rank & Serial Number. It’s a fantastically vibrant and catchy track. In particular, Keith Satchfield (who sadly passed away in early 2025) deserves a medal for his infectious, rhythmic vocals and inventive lyrics. Fist’s recording career ended up all too brief but in that short run they released some of the best tracks of the whole NWOBHM era. On Name, Rank & Serial Number, Fist managed the rare feat of being classic and definitive while also being startlingly original.

King Diamond – Black Horsemen (Song Review)

“That’s the end of another lullaby”

Black Horsemen is one of my favourite metal album closers of all time and it also succeeds perfectly in bringing King Diamond’s 1987 ghost story concept album Abigail to a satisfying conclusion: lyrically, musically and emotionally. As with the rest of Abigail‘s tracks, Black Horsemen is chock full of dazzling musicianship, deadly riffs and King Diamond’s demented theatrical vocals. But the song is elevated by a serene, Randy Rhoads-esque acoustic guitar intro that evokes the sun rising as the horrific goings-on at the La’Fey mansion come to an end. And the climatic guitar solo is so joyous it feels like an ecstatically received curtain call.

Gillan – No Easy Way (Song Review)

“You are so lovely, you are so beautiful”

There’s no easy way to shake off sorrow but listening to this classic Gillan tune, from 1980’s thumping Glory Road album, is guaranteed to blow away the blues. Gillan were a monster band and on No Easy Way they are at their boisterous, swaggering best. Guitarist Bernie Tormé runs riot all over this, unleashing a chaotic torrent of guitar to kick things off and then livening up the whole track with all sorts of howling bends and bombs. “Let it all pass by” is a bit of classic Ian Gillan life philosophy and he’s on brilliant rock ‘n’ rolling form here too. The sweet way he sings the quiet middle section is a wonderfully heartwarming bit of emotional connection.

Master’s Hammer – Geniové (Song Review)

“To the land of awesome mysteries”

Ritual., the 1991 debut album by the Czech Republic’s Master’s Hammer, is one of my favourite black metal albums. And Geniové  (translated to English as “Wizards”) is one of my favourite black metal tunes. It doesn’t have the blasting extremity of a lot of later black metal but it has the crafted riffs and occult lyricism of Mercyful Fate, craggy vocals, creepy castle atmosphere and the band’s patented timpani which gives the track an idiosyncratic and enigmatic sense of drama. Essential.